The tintype was an early Victorian photographic process which enjoyed huge popularity in the United States of America after its introduction in the late s but it never achieved the same acceptance in Great Britain. Note the crazing of the collodion surface across the plate and the bubbling and rusting around the outside perimeter. In contrast, in the International Center of Photography in New York staged a dedicated exhibition entitled America and the Tintype which featured several hundred examples from both the Permanent Collection of the I. Further more, the International Museum of Photography and Film at George Eastman House in Rochester, NY, currently includes a prominent display of tintypes in its history of photography gallery, directly adjacent to an American daguerreotype and also a calotype by D. Hill and Robert Adamson who formed the first Scottish photographic studio. Despite this, the tintype has social and photographic significance in Britain which deserves greater consideration and acknowledgement.
Commercial portrait photography began in the s and old family photographs can portray ancestors from the early-Victorian era onwards. Many historic photos surviving today are undated and unidentified and we can use various methods to work out their time period:. This can help, but studio data may be elusive, patchy or too broad to pinpoint a close date for a given photograph.
The style of photographic product emerging from the studios changed over the of these changes as an aid to dating them alongside the photographer’s dates. of photocard, which became very popular in the continent, and then in Britain.
Science and Technology 5 min read. Discover how Victorian inventors and entrepreneurs succeeded in capturing the very first images. Daguerre was the first person to publicly announce a successful method of capturing images. Daguerre released his formula and anyone was free to use it without paying a licence fee — except in Britain, where he had secured a patent.
Above: Black and white lithograph entitled La Daguerreotypomanie. This example has been adapted to take small rectangular images, and is fitted into a wooden box which once also contained the necessary equipment and chemicals. A daguerreotype is a single reversed image, made as a direct positive onto a silvered copper plate.
Its reflective surface is an easy way to tell the difference between a daguerreotype and an early photograph taken using a different technique.
Aberdeen exhibition to show snapshot of Victorian-era photo craze
What was a gift of something I’d never book for myself turned out to be something great. I turned We had a really great time. The photographer was very professional. We will definitely go back soon! My mother is visiting me in London.
Learn all about this fascinating era in our Victorian facts — when Britain became from the 20 June until the date of her death on the 22 January Victorian facts: black and white photograph of Victorian children in a London slum.
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Evolution of the Photograph, and Photocard Design
If you can see her ears it is the later s. Such cards usually have square corners. Men wore lounge suits with matching waistcoats by the middle of the decade. The ladies look like they are wearing heavy furnishing rather than dresses. The cardboard is thicker and stronger less flexible than a playing card and the printing on the back is typeset with fonts but usually one large word, and perhaps a border, and the rest small and coloured inks may be used and a logo may appear.
Date. Hannavy, John. The Victorian Professional Photographer. Shire www. a list of Glamorgan.
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Dating old photos
The authors felt at the time that the images lent authenticity to the text, and their book is now regarded as a key work in the history of documentary photography. Source information: The image has been provided courtesy of The London School of Economics and Political Science Library and further information about the image and the publication can be found here. From the mids Italian migrants came to Britain from poor mountainous areas including around Parma and Lucca and, by the century’s end, from more southerly sources in the Frosinone and Caserta provinces.
Their regional costumes, languages, Catholic faith and extended family structure distinguished them from the host community. Most Italians who settled in Britain at this time came firstly to London especially in the Holborn area , but by the s had reached Glasgow and other northern industrial cities. The specific regions from which Italians came often determined the type of work they did.
The exhibition “Victorian Britain and Tintype Photograph” and accompanying book (in the works) are part of an endeavour to establish the British tintype as a.
The cabinet card was a style of photograph which was widely used for photographic portraiture after The carte de visite was displaced by the larger cabinet card in the s. In the early s, both types of photographs were essentially the same in process and design. However, later into its popularity, other types of papers began to replace the albumen process. Despite the similarity, the cabinet card format was initially used for landscape views before it was adopted for portraiture. Some cabinet card images from the s have the appearance of a black-and-white photograph in contrast to the distinctive sepia toning notable in the albumen print process.
These photographs have a neutral image tone and were most likely produced on a matte collodion , gelatin or gelatin bromide paper. Sometimes images from this period can be identified by a greenish cast. Gelatin papers were introduced in the s and started gaining acceptance in the s and s as the gelatin bromide papers became popular. Matte collodion was used in the same period. A true black-and-white image on a cabinet card is likely to have been produced in the s or after The last cabinet cards were produced in the s, even as late as Owing to the larger image size, the cabinet card steadily increased in popularity during the second half of the s and into the s, replacing the carte de visite as the most popular form of portraiture.
Picturing the family
From ‘Street Life in London’, , by John Thomson and Adolphe Smith The subject of the accompanying illustration is a vendor of cough lozenges and healing ointment. He was originally a car-driver employed by a firm in the city, but had to leave his situation on account of failing sight. His story, told in his own words, is as follows :- “First of all I had to leave my place on account of bad sight. It was brought on by exposure to the cold.
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Such cards usually have square corners. Men wore lounge suits with matching waistcoats by the middle of the decade. The photographs look like they are wearing heavy furnishing rather than dresses. The cardboard is thicker and old less flexible than a playing card and the printing on the date is typeset with clothing but usually one large word, and how a border, and the rest small and coloured inks may be used and a logo may appear. These photo from the s. Some still show full length and a carpet in the early s.
Norfolk jackets were popular as were more casual clothes. Ladies wore tight fitting jackets, high white collars or ruffs a brooch at the neck, lots of buttons in rows, tight fitting photos, odd little hats, fashion plain or curls usually pulled back. The date of the card is quite filled with print, with medals, famous photos, branches, and could be artistic. Studio furniture and chairs look as if from a fine country house. Sleeves became wider until by the ‘leg of photo’ shape with sort of upstanding ‘wings’ on the shoulders.
How to Date Your Old Photos
The style of photographic product emerging from the studios changed over the years, and is of use in helping to determine the period they were produced. This section of the site attempts to give an overview of these changes as an aid to dating them alongside the photographer’s dates. The tables below illustrate some significant forms that are commonly seen. The dates tentatively given represent a ‘core’ period. The first photographs commercially available in Glasgow were daguerreotypes, the first produced here in
Photography was a novel and exciting development in Victorian days, and many people had studio photographs taken for ‘cartes de visite’ which could be.
Most of us today take photographs for our family albums. The lucky ones among us have also inherited family photographs from the past. These photographs provide another type of record that can offer insights into our family history. But what can they tell us? How can we elicit the information they hold? And how do we analyse or evaluate that information? The purpose of this course is to suggest how to approach the interpretation of the photographic record. Please keep referring to your own family photographs as you work through the course.
This will help you assimilate the information and assist in the analysis of your own photographs. Don’t assume that once you have studied a photograph, you will have garnered all the information there is to be found. I am constantly surprised at how much I fail to see when I look at photographs. I have given talks using the same images to different audiences.